Global ETD Search

51	Kontinuum – Diskontinuum: Formbildung bei Mahler, Ives und Ligeti Herchenröder, Martin 17 October 2023 (has links) Die in der Literatur zu Gustav Mahlers Symphonik immer wieder diagnostizierten ›Formbrüche‹ lassen sich mit den herkömmlichen Kategorien der Formenlehre nicht befriedigend analysieren und erklären. Der Text schlägt deshalb als zusätzliches Untersuchungskriterium das Begriffspaar ›Kontinuum‹ und ›Diskontinuum‹ vor, das unabhängig von bekannten Kategorien der Formenlehre verwendet werden und zu einem tieferen Verständnis von Gemeinsamkeiten und Unterschieden von Kompositionsweisen verschiedener Komponisten und der Anlage verschiedener Werke beitragen kann. Die Problematik und Begrifflichkeit wird anhand von Beispielen Gustav Mahlers vorgestellt und dann auf Musik von Charles Ives und György Ligeti übertragen, wobei als zusätzliches Hilfsmittel die Theorie und Technik der Montage nach Pudovkin fungiert. / Common categories in musical theory of form fail to analyze and explain what studies on Gustav Mahler’s symphonies have described as disruptions of the (sonata) form. The text therefore suggests, as an additional set of analytical tools, the conceptual pair of “Continuity” and “Discontinuity”, to be used independently of the well-known categories of musical form, that can contribute to a deeper understanding of similarities and differences of compositional methods used by different composers. Examples from Mahler’s symphonies illustrate the problem and introduce the explanation of the concept, which later is applied on music by Charles Ives and György Ligeti, Vsevolod Pudovkin’s montage theory serving as a supplementary means of analysis. continuum, discontinuum, form, montage info:eu-repo/classification/ddc/780 ddc:780
52	Agricultural romance : constructing and consuming rural life in modern America Hajdik, Anna Thompson 10 June 2011 (has links) This dissertation illuminates the links between agriculture, popular culture, social class, and agrarian nostalgia. Using an interdisciplinary approach, I draw from the fields of American Studies, American History, Agricultural History, Environmental Studies, popular culture, and cultural geography. Consisting of four diverse case studies, my project focuses on America's evolving relationship with its agrarian roots from the late eighteenth century to the present. Each case study pays close attention to the ways in which the forces of modern consumerism have shaped public understanding of agricultural issues. The dissertation pivots on two main arguments: 1) the modern realities of industrialized agriculture have sparked a desire for highly romanticized visions of farming, particularly tourism to rural places that promise temporary pastoral transcendence to consumers, and 2) as a result of the public demand for idyllic constructions of American rural life, agrarian nostalgia has frequently been deployed in the service of commerce. From the writings of Thomas Jefferson and Laura Ingalls Wilder, to Currier and Ives painting, Martha Stewart's media empire, and state fairs of the American Midwest, I analyze a variety of highly romanticized cultural forms that enrich our understanding of the nation's agrarian heritage. Yet, I also make important links between the past and present, and demonstrate how and why debates about such issues as farm policy and the politics of food once again stand at the forefront of popular consciousness in the twenty-first century. / text Rural life Agriculture Agrarian nostalgia Popular culture Farming Consumerism Public opinion Thomas Jefferson Laura Ingalls Wilder Currier and Ives Martha Stewart State fairs American Midwest America United States Case studies
53	Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, -- Campbell, Andrew (Andrew S.) 08 1900 (has links) This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein. Collage music John Zorn Tempered Confetti Venni, Viddi, – Charles Ives Lucciano Berio George Rochberg DJ Orange Composition (Music) Collage. Quotation in music. Orchestral music. String quartets. Academic theses Art music Scores
54	Takt och Otakt Gahrton, Daniel January 2019 (has links) The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided. / <p>Bilaga: CD</p> rhythm rhythmic layers rubato tempo pulse contrast composition composing quintet ostinato loop structure polyphony autentic ungraspable impulse Ives Shaggs Ornette Coleman rhythmic analyzis composing tools rhythmic complexity organic rhythm composing for improvisors rytmik rytmiska lager rubato tempo puls kontrast komposition komponerande låtskrivande kvintett ostinato loop strukturer polyfoni autentisk ogreppbarhet impulser Ives Shaggs Coleman Ornette rytmisk analys kompositionsverktyg rytmisk komplexitet organisk rytmik komponera för improvisatörer Music Musik
55	Treize Etudes Pour L'Orchestre Constantinidis, MariaSilvia Castillo 01 January 2008 (has links) Treize Etudes Pour L?Orchestre is a thirteen-movement symphonic work for full contemporary orchestra. The purpose of this work has been to develop a sonic exploration of textural possibilities through the orchestral medium. The motivic materials of the whole piece were first utilized in pieces for one piano, piano and cello and two pianos combinations These smaller pieces ahs been included in the appendix section of this work. The orchestral work does not represent an orchestration of the smaller pieces, but an expansion of the material into different textural studies. Preparation for this work includes the study of twelve different bird sounds, first recorded and later musically transcribed to create thematic materials and secondary materials for this work; the study of production of fabric of sounds representing color spectrums and intensity through sound tapestries, and the sonic representation of water, a starry dark night and the jungle. The Treize Etudes Pour L?Orchestre is formally a through-composed work. The different musical materials created as motive unity of the whole work have been developed throughout it by means of using a variety of compositional devices and techniques including Schoenberg?s Klangfarbenmelodie, Messiaen?s ?Language Musicale?, Ives? quadraphonic effect, and Samuel Adler?s sound curtain technique, and, the use of folk-like materials; all within the parameters of acoustic instrumentation.

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